‘Unheard’ Sounds

Sound propagates through space as a series of vibrations; the physical attributes of this motion excite and engage listeners on another level. For example, when standing close to a loudspeaker, you can feel the propagation of waveforms through the speaker cone; this is particularly prominent at low frequencies. Instrumentalists feel parallel, physical sensations as their instrument produces sound. Additional haptic and vibrotactile stimulation can provide a further sensory modality, or channel of communication through which musical information can be enhanced. This installation forms a part of the larger body of research - exploring the relationship between the haptic and auditory sensory mediums in the context of music composition. Throughout this work, the haptic communication channel is considered as an instrument and/or as a purely expressive medium. This will be the premier of a recent composition-installation, ‘unheard’ sounds. ‘Unheard’ sounds, explores the relationship between the auditory and somatic sensory systems by highlighting aspects of sound, such as masked noises and other interplay that appear less apparent in an audio mix.

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Publication date: July 2015

Publication date (Print): July 2015

Pages: 1-2

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[0001]ICSRiM – School of Music and School of Computing, University of Leeds, UK

haptics@icsrim.org.uk

Article

DOI: 10.14236/ewic/eva2015.42

SO-VID: 6c9ac652-7213-4875-af75-2276fc1172f3

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This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Electronic Visualisation and the Arts (EVA 2015)

Conference acronym: EVA

Conference number:

Conference location: London, UK

Conference date: 7 & 9 July 2015

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Electronic Visualisation and the Arts

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1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/eva2015.42

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

J. G Bidima 2004 Music and the socio-historical real: rhythm, series and critique in Deleuze and O. Revault d’Allonnes J Griffiths I BuchananM Swiboda Deleuze and Music Edinburgh University Press Edinburgh
H Dewey-Hagborg 2011 Buried Sound 2: Haptic Resonance http://www.deweyhagborg.com/hapticResonance/ 17 March 2015
E Glennie 1993 Hearing Essay https://www.evelyn.co.uk/hearing-essay/ 18 March 2015
E Gunther 2007 Organ, Organ http://www.ericgunther.info/projects/system.html 17 March 2015
L Hayes 2012 Skin Music http://laurensarahhayes.tumblr.com/tagged/skin_m usic/chrono 17 March 2015
O Salkic 2009 Feel a Bit Like Beethoven http://www.oliversalkic.com/FEEL-A-BIT-LIKE-BEETHOVEN 17 March 2015

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[1] J. G Bidima 2004 Music and the socio-historical real: rhythm, series and critique in Deleuze and O. Revault d’Allonnes J Griffiths I BuchananM Swiboda Deleuze and Music Edinburgh University Press Edinburgh

[2] H Dewey-Hagborg 2011 Buried Sound 2: Haptic Resonance http://www.deweyhagborg.com/hapticResonance/ 17 March 2015

[3] E Glennie 1993 Hearing Essay https://www.evelyn.co.uk/hearing-essay/ 18 March 2015

[4] E Gunther 2007 Organ, Organ http://www.ericgunther.info/projects/system.html 17 March 2015

[5] L Hayes 2012 Skin Music http://laurensarahhayes.tumblr.com/tagged/skin_m usic/chrono 17 March 2015

[6] O Salkic 2009 Feel a Bit Like Beethoven http://www.oliversalkic.com/FEEL-A-BIT-LIKE-BEETHOVEN 17 March 2015

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